"As the play progresses and Nora's paranoia increases, the house seems to grow darker and lighting designer Guy Hoare throws angular shadows across the stage creating a real sense of the impending tragedy to come."

A Streetcar Named Desire

SALLY JACK The British Theatre Guide 1 October 2015

"Guy Hoare's lighting complements Michael Taylor's authentic set."

All My Sons

BEN HEWIS What's On Stage 21 May 2014

"The lighting, whilst officially designed by Guy Hoare, is essentially provided by mother nature, seeing as the action takes place over one day; after returning from the interval, dusk had fallen on Regent's Park."

All My Sons

PHILIP FISHER The British Theatre Guide 15 May 2014

"...Guy Hoare's valiant lighting..."

Amstatten

ERIN JOHNSON Bachtrack 26 February 2013

"From the thin lines of tape, which contributed greatly to the feeling of confinement, to the beautiful lighting and soundscape, this piece was a carefully edited piece of work...Guy Hoare's lighting design was well timed and executed to create an enclosed space within such a huge performance venue. It was clear that Hoare and Clark took great care in the manipulation of light and shadow throughout the piece, and the result was an artistic design that supported the movement and choreographic ideas exquisitely."

Channel Rose

NICHOLAS MINNS Writing About Dance 3 March 2015

"They also respond beautifully to Hoare's lighting which in turn sculpts the space around them and sets them free."

Channel Rose

SINNEAD ALI Buzz 8 December 2014

"Flooded lighting on one side of the stage created transformative depth…Ritually washing their hands in a fish bowl, that was lit from underneath, created a beautiful effect on the ceiling…Channel Rose was unflawed; visually stunning, "

Clarence Darrow

SAM MARLOWE Chicago Tribune 14 June 2014

"Otherwise, Sharrock keeps the pace keen and our attention rapt, aided by adroit lighting from Guy Hoare that irises in and out to maintain precise focus."

Clarence Darrow

MATT WOLF The Arts Desk 14 June 2014

"On the visual front, full credit is due to the spiffy contributions of Alan Macdonald, a designer on loan from the world of film… and Guy Hoare, the latter using lighting to vary the emotional beats of a piece that knows not when to be still as well as when to hurtle ever-onwards."

Don Giovanni

NICK KIMBERLEY Evening Standard 14 March 2016

"The multi-level set and Guy Hoare's lighting create a believably murky demi-monde."

Don Giovanni

STEVE SILVERMAN Opera Britannia 14 March 2016

"The lighting is constantly moody and, when the Don gets his infernal comeuppance, Guy Hoare proves that meagre resources are no barrier to the creation of a scarily believable underworld."

Don Giovanni

MARK VALENCIA What's On Stage 13 March 2016

"Four tunnels converge on the stage like pipes into a cistern, and at any one time Guy Hoare's artful lighting conceals as much as it reveals."

Dracula

SHANE MORGAN What's On Stage 27 September 2016

"Alongside Bruce and his seamlessly elegant, athletic and super-charged cast, the other triumph of the evening is the design. Dorothee Brodruck, Phil Eddolls and Guy Hoare have created a gothic powerhouse with their respective costume, set and lighting design roles combining all their theatrical expertise to create a dark, shadowy world where characters can appear from nowhere, disappear in the mist and fill the stage."

Dracula

JUDITH FLANDERS TLS 25 October 2013

"Guy Hoare's almost velvet lighting is a character in its own right."

Dracula

GRAHAM WATTS Dance Tabs 20 October 2013

"Bruce's creative and technical collaborators add even more pluses to the atmospheric perfection with incredibly evocative lighting by Guy Hoare."

Dracula

JUDITH MACKRELL The Guardian 17 October 2013

"His extraordinarily gifted dancers and design team navigate the material with near-hallucinatory dexterity."

Dracula

SANJOY ROY London Dance 15 October 2013

"Go with the imagery and indulge in the production, which is terrific. Guy Hoare's sepulchral lighting glows like gaslight or pierces through mists like – well, like stakes through shrouds – and helps make Phil Eddolls' cleverly adaptable set appear much bigger and unbounded than it is."

Dracula

ROBERT TANITCH Mature Times 14 October 2013

"The show, designed by Phil Eddolls, is notable for its eerie tableaux, for its striking masks for wolves and horses and for its visible darkness."

"Spears of light - cool blue moonlight or sharp penetrating rays of sunlight - pierce the smoke that issues continuously across the stage."

Dracula

GRAHAM WATTS Dance Tabs 9 October 2013

"Bruce's creative and technical collaborators add even more pluses to the atmospheric perfection with incredibly evocative lighting by Guy Hoare."

Dracula

LOUISE LEVENE The Telegraph 4 October 2013

"All further scene-setting is supplied by Guy Hoare's smoky lighting, which offers a masterclass in black-on-black."

Ex Nihilo / The Human Edge

LUKE JENNINGS The Observer 4 May 2016

"In the work's most lyrical sequence, paired dancers gradually split away from each other and achieve independent life while a constellation of tiny suspended lights (by Guy Hoare) descends from above."

Ex Nihilo / The Human Edge

JUDITH MACKRELL The Guardian 30 April 2016

"The slatted, shadowed darkness of the stage yields to a canopy of glowing lightbulbs as the stars of the universe are born."

Ex Nihilo / The Human Edge

GRAHAM WATTS London Dance 6 May 2014

"Ex Nihilo opens atmospherically with seven pods of substance gently caressed by Guy Hoare's ultra-soft lighting…The Human Edge benefits from an eastern cinematic quality in its impact, enhanced by all the elements of choreography, design and lighting."

Ex Nihilo / The Human Edge

KATYA VAGHI Bachtrack 1 May 2014

"The illusion created by ATMA's dancers is assisted by Guy Hoare's beautiful lighting design, a sea of light bulbs whose tidal limb reaches out to hover over the audience…Vivid, often complementary, colours illuminate the simple elegant lines of the dancers' unisex costumes – blue and red, yellow and violet – while the bulbs cut the aerial space in two: the sky above, and below, the earth."

Far Away

LYDIA THOMSON Exeunt Magazine 1 November 2014

"The only thing we see on stage is the hats hanging from the grid above the stage. Guy Hoare's lighting gives them a looming aesthetic."

"Visually, the production is equally well judged. On its own, the stark Peacock stage offers few cues to Cuban nightlife, but the set (Camilo Rosales) and lighting designers (Guy Hoare) deftly convey the cocktail hour with simple props (a light ball, restaurant chairs) and Equator-quality lighting."

Here We Go

VERITY HEALEY Exeunt Magazine 29 November 2016

"This sense of randomness or fate – we don't know when a lightning bolt or an act of God will strike us down and take away our lives – is carried over into the next almost-static tableau where a dead man (perhaps the same dead man from Scene 1) appears painted in Guy Hoare's Rembrandtesque light."

Here We Go

PAUL TAYLOR The Independent 30 November 2015

"Then we see the biblically silver-bearded, bare-torsoed Patrick Godfrey (presumably the dear, departed) floating, as though a figure in some collaboration between Beckett and Dante, in a terminal tunnel sculpted by Guy Hoare's superb lighting design."

Here We Go

MICHAEL COVENEY What's On Stage 28 November 2015

"Designed almost as a photo-negative by Vicki Mortimer, and lit with brutal switches and a brilliant sizzle at one point by Guy Hoare."

Here We Go

NATASHA TRIPNEY The Stage 27 November 2015

"He's wry and kind of sprightly: in death he is oddly alive, and the way he's been lit, by Guy Hoare, makes him look like a Caravaggio, somewhat reminiscent of a saint: Jerome, perhaps, without his red hat."

Hold Everything Dear

DONALD HUTERA The Times 20 May 2013

"Jules Maxwell's score enhances the bittersweet melancholy as much as Guy Hoare's sensitive lighting. Structured in poetical fragments, this hour-long show wallows gracefully in a deftly conjured atmosphere""

Iphigénie en Tauride

CHARLOTTE VALORI Bachtrack 29 March 2016

"Sensitively lit by Guy Hoare, washes of colour provide atmosphere and warmth, or chills, with flashes of white light for the storm which shipwrecks Orestes on Tauris' fatal shore. "

Iphigénie en Tauride

DAVID NICE The Arts Desk 6 March 2016

"Fleischle's stairways, platforms and ramps now draw the eye towards goddess Diana's sacrificial altar space, variously and beguilingly lit by Hoare, while blood, water and earth frame this perfect design for classical tragedy."

Iphigénie en Tauride

MARK BERRY Boulezian

"Nothing, however, detracts from the playing out of the tragedy, Guy Hoare's lighting clearly focusing our expectation and concentration."

King Lear

JOAN DAVIES Manchester Confidential 8 May 2015

"Strongly lit, by Guy Hoare, from the front and framed by a giant clothes rack type structure in front of complete darkness, the actors appear as if in a painting, the scenes abstracted from reality. Yet the reality couldn't be more plain."

King Lear

JO BEGGS Reviews Hub 6 May 2015

"Guy Hoare's lighting design is stark, sharp and effective."

King Priam

MIRANDA JACKSON Opera Britannia 27 February 2014

"There is some very fine singing and the combination of set, lighting and effective direction makes this a highly atmospheric production."

King Priam

MARK RONAN 16 February 2014

"Wonderful set and costume designs by Anna Fleischle, with excellent lighting by Guy Hoare."

King Priam

MARK BERRY Seen & Heard 15 February 2014

"Anna Fleischle's designs and Guy Hoare's lighting assisted greatly not only with the screwing up of dramatic tension but also the differentiation of place between Troy and the Greek camp."

Paul Bunyan

MARK RONAN 18 February 2014

"Steel has given us the cramped quarters in which lumberjacks lived, with set design and costumes by Anna Fleischle, atmospherically lit by Guy Hoare. It is wonderful."

Paul Bunyan

KIMON DALTAS The Arts Desk 18 February 2014

"Wyn Pencarreg is an impressive Hel Helson, one of the few characters who have any sort of development, and whose dream sequence marks one of the definite high points of the production – thanks also to the combined efforts of the director, set/costume designer (Anna Fleischle) and lighting designer (Guy Hoare)."

Paul Bunyan

SEBASTIAN PETIT Opera Britannia 27 February 2014

"Liam Steel's handsome and often ingenious production for English Touring Opera makes the best possible case for this uneven work. Playing the piece as a community play within a single set (by Anna Fleischle) beautifully lit by Guy Hoare and utilising everyday objects to stand in for elaborate costumes and props might not be an original idea but it is entirely apposite for this work."

Paul Bunyan

RICHARD FAIRMAN Financial Times 21 February 2014

"The story shows the building of an early American community and Liam Steel's production sets the opera among the camaraderie of a country barn with bunk beds for all, highly realistic in Anna Fleischle's set and beautifully lit."

Pia de' Tolomei

TIM BANO The Stage 11 March 2016

"The production's two great strengths are baritone Grant Doyle's powerful performance as Nello, and the design... To suit the opera's tragic scenes, designer Loren Elstein has employed a murky colour palette, gloomily illuminated by Guy Hoare's yellow and orange lighting. The result is like a sky before it fractures with a fierce storm - ever-changing, blackening and bruised."

Pia de' Tolomei

CHARLOTTE VALORI Bachtrack 14 March 2016

"Guy Hoare's lighting cleverly changes its emphasis from scene to scene, using a column of light for Rodrigo's prison cell, or highlighting certain angles to indicate the warren-like caves of the hermits"

Pia de' Tolomei

PETER REED Classical Source 10 March 2016

"The staging moves characters and chorus around in a way that swiftly focuses the drama, enhanced by Guy Hoare's sulphurous lighting."

Roots

JEMMA ANDERSON A Younger Theatre 14 October 2013

"On a beautiful set designed by Hildegard Bechtler with much minute detail, and lit very purposefully by Guy Hoare, the action plays out within the Donmar with such clarity that it was hard to believe for a moment that I was in fact, in Central London and not the Norfolk Broads."

Roots

HARRY STERN The Public Reviews 14 October 2013

"Bathed in gloom…Hildegard Bechtler's set is a marvel of detail and Guy Hoare excels with his lighting of this slice of 1950s life."

Roots

QUENTIN LETTS Daily Mail 10 October 2013

"I loved the subtlety; the precision of the acting. Is the lighting too low and the slowness overdone? Some may say so, but for me they only add force."

Roots

CAROLE WODDIS London Grip 10 October 2013

"Wesker's Roots in this revival emerges as a time capsule, lovingly re-enacted and beautifully pinpointed by Macdonald through back-breaking realism..., crepuscular lighting and sudden pools of light."

Roots

MARK SHENTON London Theatre Guide 9 October 2013

"It is only in a theatre as intimate as the Donmar that such bold choices can be made like the one to play the first act under extremely subdued lighting by Guy Hoare."

Roots

PAUL TAYLOR The Independent 9 October 2013

"…atmospherically lit..."

Roots

MARK SHENTON The Stage 9 October 2013

"…meticulously atmospheric…"

Roots

POLY GIANIBA The Other Bridge Project 9 October 2013

"...supremely atmospheric…"

Roots

MICHAEL COVENEY What's On Stage 9 October 2013

"There's a potato-peeling Lawrentian realism at work, but also a crepuscular aesthetic beauty in the shadows and half-light of Guy Hoare's exceptional poetic lighting on Hildegard Bechtler's grey, ramshackle cottage, with a practical staircase to one side."

Roots

ANDRZEJ LUKOWSKI Time Out

"‘Roots' is a play that takes place in intimate gloom."

Rutherford & Son

VERONICA LEE The Arts Desk 6 June 2013

"This production, which started life at Northern Broadsides' home in Halifax and has been touring the UK, is lit by Guy Hoare, who expresses both industrial and domestic gloom expertly."

Rutherford & Son

DAVID UPTON Lancaster Guardian 20 February 2013

"Freed up from the directing duties, Barrie Rutter gives full ranting vent to the role turning him into a mad-eyed but calculating monster, while Guy Hoare's splendid lighting design makes his mansion into a grim prison."

Rutherford & Son

MICHAEL COVENEY What's On Stage 14 February 2013

"Lit by Guy Hoare with the atmospheric detail of Georges de La Tour's candlelit paintings."

Sleeping Beauty

MARK BROWN The Daily Telegraph 7 December 2012

"If there is a powerful bleakness in Norris's script, Hill's production visualises it with an extraordinary boldness. Naomi Wilkinson's set an eerie and claustrophobic representation of a dark forest has more blacks and greys than one would have thought possible (or, indeed, wise) in a Christmas show. Yet, assisted by Guy Hoare's clever lighting, the design proves intelligently responsive to the play's shifts in tone."

"Lighting designer Guy Hoare creates a cocoon of hazy light that engulfs the musicians...after which Hoare lowers the lights to prepare us for her entrance: first her hand and then her arm, then her entire body appear through a thin sheet of light. For the next forty minutes Hoare integrates Patel's dance and the Carnatic music into an intoxicating drama of mystery and light."

Something Then, Something Now

DONALD HUTERA Pulse 26 September 2014

"Another chief collaborator was Guy Hoare, whose masterly lighting design created an at times almost architectural dimension for Patel's dancing – the way a high shaft of light illuminated her red-dipped hand, say, or broad bands of light and shade conjured a pillared courtyard. There was motion and mood in Hoare's illuminations too, as in the sequential rippling of a series of overhead lights or a climactic wash of aquamarine that suggested some sort of emotional sea-change."

Strange Blooms

LUKE JENNINGS The Observer 8 December 2013

"With the stage bathed in pink and yellow light, and the score assuming a fluttery urgency, they are seized with shudders and twitches"

Strange Blooms

VERA LIBER The British Theatre Guide 4 December 2013

"Guy Hoare's purple on red lighting places us in a magical night garden."

Strange Interlude

CHARLOTTE MARSHALL Official London Theatre 5 June 2013

"Soutra Gilmour's jaw-dropping set uses the Lyttelton theatre's huge stage to full effect, with gloriously designed rooms spinning around on a revolve or floating on and off to take us from grand old houses to cold expensive Manhattan apartments or, in one stand-out scene, to the deck of a boat while Guy Hoare's equally stylish lighting streams through."

The Deep Blue Sea

TIM BANO Exeunt Magazine 14 June 2016

"The utmost technical proficiency seeps into every moment on the Lyttelton stage. But for all the skill, there remains a chill in the air; a detached coolness matching the almost icy blue/grey of both Tom Scutt's looming set and Guy Hoare's perfect lighting."

The Deep Blue Sea

J WAYGOOD Grumpy Gay Critic 9 June 2016

" Guy Hoare's lighting does great to bring in the dim of the gloomy setting without eclipsing its inhabitants, creating some stunning visuals with shadows throughout. Then there's fantastic little details like the curtains swaying in a breeze coming through open windows which add an almost film noir decadence that's truly sumptuous."

The Deep Blue Sea

DEBORAH PARRY Reviews Hub 9 June 2016

"The set and lighting design are both bold and detailed- characters enter and exit via a staircase, which is in shadow behind a screen and uses the full height of the Lyttleton's stage – this is visually unusual and engaging. Subtle blue hues feature throughout and both naturalistic and more contemporary striking lighting states are equally effective and provide a catching contrast in style."

The Father

STEPHEN OLIVER North East Theatre Guide 18 April 2016

"Guy Hoare's lighting design plunges the set into darkness as each scene finishes and then Christopher Shutt's sound design takes over with short bursts of music. Each scene having subtly different lighting to reflect the mood."

The Father

STEPHEN COLLINS British Theatre 4 November 2015

"Guy Hoare's lighting is also part of the conveyance of meaning. As each scene (or most anyway) begins, there is a spark effect, a small visual representation of a proper connection being made, just before the lights come on. The spark varies in intensity as the narrative progresses and when it is absent, the silence does, indeed, speak volumes."

The Father

MICHAEL COVENEY What's On Stage 6 October 2015

"James Macdonald's production, impeccably designed by Miriam Buether (set), Guy Hoare (lighting) and Christopher Shutt (sound), has moved stealthily from the Theatre Royal, Bath, via the Tricycle, Kilburn, into the West End, with no loss of snap, crackle and old pop in his pyjamas."

"It's the visuals that are the star though; any theatrical producer operating on a limited budget needs to see what miracles are achieved here with the simplest of means."

The Firework Maker's Daughter

ANNA PICARD The Independent 30 March 2013

"The pyrotechnics come from magic markers, oil and water, craftbox glitter and two overhead projectors; the enchantment from the energy of the performers, the ingenuity of Guy Hoare's lighting, and the beauty of Bruce's music"

"This is also an example of brilliant creative collaboration with Daw's designs; Frank Moon's remarkable one-man band score, his live playing overlaid on a recorded track; and Guy Hoare's atmospheric lighting all playing their part in a memorable theatrical experience”"

The Metamorphosis

JUDITH FLANDERS The Arts Desk 13 March 2013

"Guy Hoare's evocative lighting shades reality into phantasmagoria"

The Odyssey

ISMENE BROWN The Spectator 1 March 2016

"I loved Mark Bruce's previous creation, Dracula, and this one has a similarly fabulous set (Phil Eddolls) and lighting (Guy Hoare)"

The Odyssey

JUDITH MACKRELL The Guardian 29 February 2016

"With the aid of his excellent design team, Bruce has compressed Homer's epic into a two-hour show, and located it somewhere between myth and modern fantasy."

The Odyssey

EMILY PULHAM Everything Theatre 28 February 2016

"The lighting and staging is an absolute masterclass in evoking atmosphere…the way things appear and disappear on the stage is stunning."

The Odyssey

LOUISE LEVENE Financial Times 28 February 2016

"Stage pictures are given painterly power by Guy Hoare's lighting and generous use of the smoke machine which allows characters to materialise out of the mist to spooky effect."

The Odyssey

Culture Whisper 27 February 2016

"Guy Hoare, the lighting designer behind many a Royal Opera House spectacle, and set designer Phil Eddolls are responsible for the ambitious visuals."

The Odyssey

LYNETTE HALEWOOD Dance Tabs 27 February 2016

"Lighting design is by Guy Hoare who gives us smoky atmospherics and a line of footlights in a nod to Wilton's past. He manages to invoke Odysseus home of Ithaca purely by some lights glinting on the backdrop."

The Odyssey

SARAH STEWART The Londonist 27 February 2016

"The sound of waves breaking on the shore, and smoky fog recede into the hazy lights of a far distant fairground, with a slowly turning Ferris wheel and a roller coaster. This is the atmospheric opening to Mark Bruce Company's The Odyssey."

The Odyssey

LYNDSEY WINSHIP Evening Standard 26 February 2016

"The Odyssey is his follow-up, another literary reimagining laced with haze-heavy atmosphere."

The Odyssey

STUART SWEENEY Critical Dance 25 February 2016

"The basic structure of the set remains unchanged throughout the production but creative lighting by Guy Hoare and an intriguing, hollow, circular frame by Phil Eddolls conjure up strong visuals."

"Startling changes in Guy Hoare's lighting design rapidly shift the focus from a Lahore café in the present day, to crisp Autumn days at Princeton, to pulsing New York nightclubs in the late Nineties. "

The Reluctant Fundamentalist

DAISY BOWIE-SELL What's On Stage 26 August 2016

"Guy Hoare's lighting designs work brilliantly. Some of the internal conflict within Changez comes through the flickering and pulsing strip lights."

The Seagull

MICHAEL COVENEY What's On Stage 25 April 2016

"And they are given the best possible framework by McIntyre and designer Laura Hopkins, who provides a skeletal set of a high platform in a neutral tundra that is scrawled over with drawings and phrases, lit by Guy Hoare to accentuate the idea of an outdoor performance by the lake in silhouette, and complemented with raised house lights to implicate the audience during soliloquies."

The Seagull

SUSANNAH CLAPP The Observer 21 April 2016

"It combines restless, abrasive dialogue in John Donnelly's new version, with stillness of gesture and steadiness of lighting."

The Seagull

NATASHA TRIPNEY Exeunt Magazine 16 April 2016

"The lighting however is gorgeous and golden throughout, each scene subtly shaded."

The Seagull

DAVID JOBSON What's On Stage 16 April 2016

"The lighting team does well to create the atmosphere of each scene, including the lake at night-time and Sorin's estate in semi-darkness"

The Seagull

DOMINIC MAXWELL The Times 1 May 2013

"Laura Hopkins's set is blank, except for a wooden platform that serves as a jetty or a giant seesaw for the characters to sit on. The backdrop is like a giant sheet of manuscript on which a daub of black paint becomes a seagull, or Konstantin's fevered writings. And yet the stealthy lighting helps to make the setting evocative"

Varmints

MIM KING Total Theatre Review 22 May 2013

"Enigmatic changes of light turn the world green and verdant; there's birdsong, and a dawning beauty like the wonder of daybreak… Varmints is both dynamic and sensitive, with a great full-bodied soundscape and magnificent design, set and lighting.”"

White Christmas

MIKE TILLING Musical Theatre Review 3 December 2016

"Guy Hoare's lighting design is outstanding."

Without Stars

SARA VEALE Dance Tabs 21 November 2014

"Just when the choreography draws you in, the music and lighting step in to push you away: quiet, low-lit moments are regularly followed up with blinding rays and blasts of mournful music."

Without Stars

JOHN O'DWYER Seen & Heard 21 November 2014

"All this happens in Guy Hoare's highly responsive light or shadow."

Without Stars

VERA LIBER The British Theatre Guide 21 November 2014

"...visible in the tumescent darkness..."

Without Stars

RICH JEVONS The Public Reviews 21 November 2014

"The chiaroscuro lighting used so effectively."

Sleeping Beauty

MARK BROWN, The Daily Telegraph, 7th December 2012

"If there is a powerful bleakness in Norris's script, Hill's production visualises it with an extraordinary boldness. Naomi Wilkinson's set an eerie and claustrophobic representation of a dark forest has more blacks and greys than one would have thought possible (or, indeed, wise) in a Christmas show. Yet, assisted by Guy Hoare's clever lighting, the design proves intelligently responsive to the play's shifts in tone."

"Guy Hoare's lighting did its job very well indeed, especially when it came to showing the automated signals in the deserted, desolate house."

The Lighthouse

MARK RONAN Wordpress, 11th October 2012,

"Lighting by Guy Hoare is superb

Albert Herring

MARK RONAN Wordpress, 9th October 2012,

"The spare but effective set designs by Neil Irish, aided by Guy Hoare's clever lighting allow subtle changes of scene, all within the same framework."

Albert Herring

COLIN CLARKE, Seen & Heard, 9th October 2012

"Lighting is expert"

Albert Herring

KIMON DALTAS, The Arts Desk, 4th October 2012

"They say that when lighting is good one shouldn't notice it, but in this black box theatre with no proscenium arch, in a single-set production, Guy Hoare deserves special mention for conjuring up a very distinct atmosphere and sense of space for each act."

"Designs by Annemarie Woods with excellent lighting by Guy Hoare help give an almost supernatural sense of impending insanity."

Hold Everything Dear

NICHOLAS MINNS, Writing About Dance, 3rd April 2012

"I am reading Andrew Graham-Dixon's biography of Caravaggio (whom Guy Hoare may well have helped to light his subjects in an earlier existence). Caravaggio's central figures are beautifully lit, while the secondary figures fade into the blackness, features barely visible, yet present."

Onegin

MARK PULLINGER, Opera Britannia, 11th March 2012

"It was all beautifully lit by Guy Hoare, from the golden autumnal haze as the peasants gather apples in the opening scene right through to the grand ball of Act III."

Going Dark

MICHAEL BILLINGTON, The Guardian, 11th March 2012

"But what makes this an exceptional event is its imaginative integrity: the direction by Mark Espiner and Dan Jones, the design by Ales Valasek, the lighting by Guy Hoare all conspire to take us inside Max's world."

Going Dark

DOMINIC CAVENDISH, The Daily Telegraph, 9th March 2012

"a technical marvel this show proves Sound & Fury are going boldly where few companies have gone before. Along with applauding designers Ales Valasek (set), Guy Hoare (lighting) and co-directors Mark Espiner and Dan Jones, credit should also go to co-creator Tom Espiner's son, whose recorded improvised chatter is like an inspired episode of Outnumbered. All in all, this is a dazzling achievement that deserves a rich scattering of critical stars."

Going Dark

TOM WICKER, Exeunt Magazine, 9th March 2012

"Guy Hoare's striking lighting design

The Metamor phosis

JENNY GILBERT, Independent on Sunday, 25th September 2011

"Invisible walls and doors are made vividly real by Guy Hoare's lighting"

"with a stunning set designed by Colin Richmond and lighting designed by Guy Hoare, we are transported instantly to a bygone era, with its sepia tones and moody atmospheric lighting, Future Proof is a wondrous sight to behold."

"Tabarro doesn't need visual complexity, just atmosphere, and Neil Irish's split-level stage design, with lighting by Guy Hoare, was as powerful a depiction of the Seine riverside as I think I've ever seen."

La Clemenza di Tito

CLAUDIA PRITCHARD, The Independent on Sunday, 20th March 2011

"Impressive to look at, with its ravishingly lit classical monuments"

Il Tabarro

ANNA PICARD , The Independent on Sunday, 13th March 2011

"it is down to Guy Hoare to conjure the play of sunlight and moonlight on water

A Christmas Carol

Leeds Town Talk, 6th December 2010

"The magic came in plentiful supply from the set itself (designed by Colin Richmond), from the beautiful costumes and most significantly from the lighting and effects by Guy Hoare. Audiences at the Playhouse will be familiar with Hoare's imaginative work here in Leeds in the past, but this surely ranks as his masterpiece."

A Christmas Carol

HANNAH GILES, What's On Stage, 25th November 2010

"The production also benefits hugely from Colin Richmond's versatile set and Guy Hoare's lighting design, both of which manage to evoke a suitably eerie, Victorian atmosphere throughout"

Havana Rakatan

DICKIE AND BUTCH, The Leeds Guide, 25th October 2010

"Dozens of fabulous costumes, good use of scenery and stunning lighting design by Guy Hoare sets this tour apart from lesser dance outings"

The Duenna

MARK RONAN, Theatre Reviews, October 2010

"Marvellous lighting by Guy Hoare"

Promised End

ANNA PICARD, The Independent, 17th October 2010

"...Beautifully designed and lit by Adam Wiltshire and Guy Hoare, James Conway's production closely mirrors Goehr's pace and structure."

Promised End

GUY DAMMANN, Times Literary Supplement, 10th October 2010

"...it is to the credit of James Conway 's staging for English Touring Opera, with designs by Adam Wiltshire and lighting by Guy Hoare which give great depth to the Linbury stage, that Promised End's first production strives at all times for clarity"

"...due to Bruce's inventive direction and candid choreography, the performers' complete immersion into this weird and wonderful world, and Guy Hoare's evocative lighting; Love and War remains a scorcher"

"The towering Forth Bridge set neatly doubles as the masts and decking of a ship, secret islands and seashore rocks against a beautifully lit sky of grey clouds and pink sunsets"

4m2

MARIA IU, musicOMH, 4th March 2010

"with the dim shadowy light, it looked like CGI - it looks magical"

Passing Strange And Wonderful

SANJOY ROY, The Guardian, 16th March 2010

"Guy Hoare's lighting - shafts and shadows that illuminate, shroud or cut across the dancers - is as suggestive as the dance itself"

Serenading Louie

MICHAEL COVENEY, What's On Stage, 17th February 2010

"Director Curtis and designer Peter McKintosh, artfully abetted by Guy Hoare's lighting
and Adam Cork's soundtrack, make the intersections both graceful and plausible"

A Christmas Carol

PAT ASHWORTH, The Stage, 3rd December 2009

"It's beautifully choreographed and lit"

About Around

ROSIE CLARKE, The Brighton Argus, 6th November 2009

"ingenious lighting created dramatically changing atmospheres"

Bruise Blood

DEBRA CRAINE, The Times, 27th October 2009

"Jeyasingh's choreography is written in squiggly lines and voluble rhythms, in jagged edges and contrasting symmetrical shapes. It's nervy yet more consciously stylish than her previous work, almost as if she is staging her own rave, an impression reinforced by lighting that bathes the stage in red."

" ...Played out on a muted set of façade, balcony and tall doors, all evocatively lit..."

Waste

MICHAEL COVENEY, What's On Stage, 3rd October 2008

" ...The production, handsomely designed by Peter McKintosh and beautifully lit by Guy Hoare, is full of such deepening touches, the overall atmosphere, political and personal, completely electrifying..."

"All aspects of design and production are thoroughly integrated...
Lighting designer Guy Hoare isolates the odd patch of light amid the surrounding
blackness and swirls of mist, the actual limits of the stage blurred in the gloom."

And Who Shall Come To The Ball?

ballet.co.ukMay 3, 2007

" ... Patterns of movement begin in unison, only for dancers to break away, victims to the primitive violence of Scott Walker's commissioned score and the dazzling shattering of Guy Hoare's lighting...."